#fantastic insightful article

[zot3-flopped]

Hating Olivia Wilde is an example of the depressingly common venom leveled at the romantic partner of a star with whom stans have a parasocial relationship.

Styles has been notoriously private about his personal life, saying in interviews that regaining his privacy was paramount to him after five years of intense scrutiny as a member of the world’s most famous boyband. understand how we found ourselves in this particular mess.

The rumors about the Don’t Worry Darling set didn’t start with TMZ or Page Six. They didn’t even start with the earlier gossip blinds shared on anonymous Instagram account DeuxMoi. They started on Tumblr and they started in the One Direction fandom.

To grasp what’s happened to Olivia Wilde online, you have to grapple not just with what may or may not have happened on set. She and Pugh may have fallen out for any number of completely justified reasons and it would never have resulted in the kind of digital hyena-pack that’s waited to consume Wilde at every turn. We would likely never have heard about it at all, if it weren’t for a dedicated subset of Styles’ fans.

And yet, all of the women with whom he’s been linked over the years have been subject to the same outrageous levels of hateful conduct and harassment.

Styles, speaking to Rolling Stone last month alluded to this, saying “Can you imagine going on a second date with someone and being like, ‘OK, there’s this corner of the thing, and they’re going to say this, and it’s going to be really crazy, and they’re going to be really mean, and it’s not real.… But anyway, what do you want to eat?’ ”

These so-called fans are happy to dig through years of social media posts to find ways in which a romantic partner has been “problematic”, dismissing French model Camille Rowe for “supporting serial killers” (she dressed as Sharon Tate for Hallowe’en) and British chef Tess Ward for being fatphobic.

In the eighteen months or so that Wilde and Styles have been seen together, Wilde has come under an even more intense array of criticism. The ten-year age gap between her and Styles makes her “predatory”.

Her shared custody of her children with former partner Jason Sudeikis has been interpreted to mean she is a bad mother who routinely abandons her kids. She is “unprofessional” for embarking on a relationship with someone she met on set.

On Tumblr, Larries tag their posts with an increasingly hateful taxonomy:  “Don’t Watch DWD”, “Olivia Wilde is a Narcissistic Asshole”, “Fuck You Olivia Wilde”.

Meanwhile, these same fans are keen to promote My Policeman at every opportunity because it’s deeply unthreatening to their false narrative. Styles’ co-star is Emma Corrin, with whom he has never been romantically linked.

Styles himself is playing a closeted gay man, something they think is true in real life. “Michael Grandage seems like such a professional and competent director,” they say, as if the implications were not obvious.

Maintaining their ongoing hate campaign against Wilde puts stans in what should be some awkward spots, given the demographics of Styles’ fandom (female, progressive, queer).

They side with Wilde’s former partner Sudeikis in their split, revelling in Wilde being served papers relating to custody on stage at CinemaCon, despite it being a cruel and humiliating tactic deployed against a woman in a professional setting.

While they won’t come right out and say that LaBeouf is a hero, the glee with which his side of the story was received was a sight to behold. Even aligning yourself with alleged abusers is okay if it’s against a woman who isn’t what you want her to be. 

Worse still, Media Matters found that right wing sites exploited the situation, amplifying the hateful content and using terms like “commie whore,” “Hollywood harlot,” and “bimbo” to describe Wilde, “eager for the downfall of women who are outspoken on progressive issues” (and for the income that clicks on these stories generate).

[tardis--dreams]

To summarize today's day in university:

- got diagnosed with social phobia by a class mate (bitch?!)

- heard a Very cool lecture/presentation by a guest lecturer

- our lecturer said she kinda liked our idea for our presentation

- had lunch with friends in the uni canteen which was nice but evoked some existential despair

[ghibli-collector]

Another interesting article about the new Ghibli film Boy and the Heron with great insights into Miyazaki’s relationship with Joe Hisaishi and Toshio Suzuki making films over the years. Again it has a few spoilers

What’s it like to work with Hayao Miyazaki? Go behind the scenes.

News of Hayao Miyazaki’s retirement can’t ever be trusted.

The Japanese animation master’s repeated claims that he’ll give up filmmaking are a response to the strain that creating each of his largely hand-drawn universes entails. At least that’s what Toshio Suzuki, a founder of Studio Ghibli and Miyazaki’s right-hand man for the past 40 years, believes.

"Every time he finishes a film, he’s so exhausted he can’t think about the next project,” Suzuki explains. "He’s used up his energy physically and mentally. He needs some time to clear his mind. And to have a blank canvas to come up with new ideas.”

A decade after 2013’s "The Wind Rises” was heralded as Miyazaki’s final film, the 82-year-old auteur’s newest feature, "The Boy and the Heron,” is being released in the United States after major success in Japan over the summer, where it opened without any traditional publicity.

Though the director hasn’t given any interviews about "The Boy and the Heron,” Suzuki, 75, who is also a veteran producer, and Joe Hisaishi, 72, the longtime composer on Miyazaki’s movies, describe in separate video interviews the master’s working process and how their collaborations have evolved — or not — over the years.

Suzuki is casually dressed and speaking, via an interpreter, from Japan, where he sits next to a pillow emblazoned with Totoro, the bearlike troll that serves as the studio’s logo. He says the new fantasy film is Miyazaki’s most personal yet. Set in the final days of World War II, the tale follows 11-year-old Mahito, who, after losing his mother in a fire, moves to the countryside, where a magical realm beckons him.

"At the start of this project, Miyazaki came to me and asked me, ‘This is going to be about my story, is that going to be OK?’ I just nodded,” Suzuki recalls with the matter-of-factness of someone who’s learned it would be futile to stand in the way of the director.

For a long time, he says, Miyazaki worried that if he made a movie about a young male, inspiration would inevitably be drawn from his own childhood, which he felt might not make for an interesting narrative. Growing up, Miyazaki had trouble communicating with people and expressed himself instead by drawing pictures.

"I noticed that with this film, where he portrayed himself as a protagonist, he included a lot of humorous moments in order to cover up that the boy, based on himself, is very sensitive and pessimistic,” Suzuki says. "That was interesting to see.”

If Miyazaki is the boy, Suzuki adds, then he himself is the heron, a mischievous flying entity in the story that pushes the young hero to keep going. Director Isao Takahata, Studio Ghibli’s third foundational musketeer, who died in 2018, is represented onscreen by Granduncle, a wise but weathered figure who controls the fantastical world Mahito ventures into.

Suzuki first met Miyazaki in the late 1970s, when the animator was making his first feature, "Lupin III: The Castle of Cagliostro,” an amusing caper. Back then, Suzuki was a journalist hoping to interview him.

But Miyazaki, who was working on a storyboard, had no interest in talking and ignored him. "Out of kindness, I thought it was a good thing to introduce his works to my readers, and for him to be very cranky and disrespectful, I was very angry,” Suzuki remembers.

He stuck around the studio for two more days of silence. On the third, Miyazaki asked him if he knew a term for a car overtaking another during a chase. Suzuki’s reply, a specific Japanese expression for such action, finally broke the ice and kick-started their long-term relationship.

"Miyazaki still remembers that first meeting, too,” Suzuki says. "He thought that I was a person not to be trusted. And that’s why he was very cautious about talking to me.”

Over the years, Suzuki has become increasingly indispensable for Miyazaki. "He always tells me, ‘Suzuki-san, can you remember the important things for me?’ And then he feels that he can forget about all the important things not concerning his films. I have to remember them for him,” Suzuki says.

Best friends more than mere collaborators, Miyazaki and Suzuki talk every day, even if there’s nothing urgent to discuss, and make it a rule to meet in person on Mondays and Thursdays. "What we talk about is very trivial most times, I guess he feels lonely or misses me, but it’s always him who calls me. I never call him,” Suzuki says, adding with a laugh, "Sometimes he even calls me in the middle of the night, like at 3 a.m., and the first thing he says is, ‘Were you awake?’ And obviously I was not. I’m in bed!”

In contrast, Hisaishi, the composer who first worked with Miyazaki on the 1984 feature "Nausicaa of the Valley of the Wind,” has a strictly professional relationship with him.

"We don’t see each other in private,” Hisaishi, wearing an elegant sweater, says through a translator. "We don’t eat together. We don’t drink together. We only meet to discuss things for work.” That emotional distance, he adds, is what has made their partnership over 11 films so creatively fruitful.

"People think that if you really know a person’s full character then you can have a good working relationship, but that doesn’t necessarily hold true,” Hisaishi says. "What is most important to me is to compose music. The most important thing in life to Miyazaki is to draw pictures. We are both focused on those most important things in our lives.”

On "The Boy and the Heron,” Miyazaki didn’t provide Hisaishi with any instruction. The musician watched the film only when it was nearly completed but still with no sound or dialogue. At that point Miyazaki simply said to Hisaishi, "I just leave it up to you.”

"I feel he was just thinking that he could rely on me and expected me to come up with something,” Hisaishi says. "I feel like I was very much trusted to do this.”

For all of their previous collaborations, Miyazaki would bring on Hisaishi to discuss once three out of the four or five parts of the storyboard for a new film were ready. That the process changed this time was possible only because of their shared history.

"It’s as if we’ve been Olympic athletes making a film once every four years for 40 years,” Hisaishi says. "It’s been a long time of training and performing. When I look back I’m amazed that I could write music for these very different films.”

In his contemporary classical work, Hisaishi had been working on minimalist compositions with repeating patterns, and he took that approach to the new film.

While he maintains they are just colleagues, every January for the past 15 years, Hisaishi has composed a small tune, recorded it on a piano and sent it to Miyazaki as a birthday present. This tradition has now become the seasoned musician’s lucky charm.

"After about three times I thought, ‘This has probably run its course,’” Hisaishi recalls. "I didn’t send one the following year. That whole year I wasn’t able to work very well. It was sort of a jinx that I had not sent him something, so I started sending him the music again for his birthday,” he adds with a laugh.

Both Hisaishi and Suzuki say their interactions with Miyazaki have not changed much over the decades. On the contrary, the men have become staunch creatures of habit.

Asked why his profound connection with Miyazaki has endured so long, Suzuki says: "I don’t necessarily agree, but he once told me, ‘I’ve never met someone so similar to me. You are the last person that I will meet like that.’”

BY CARLOS AGUILAR

THE NEW YORK TIMES

[heywriters]

how to make a tumblr post (and get notes!)

Have never seen any post discuss these exact things, so i'm sharing my insights with y'all*

Use images. They don't have to be good or spectacular like this extremely coherent thing I just made. They just need to catch the eye break up dashboard monotony.

The gif search feature is an unreliable wild card at best and a NSFW eye gouge at worst, but it gives credit to the op of the gif

If you're an artist your whole post is your images, so skip to the links and tags section of this post because the rest won't help much.

-> Image Descriptions

When making a post that contains images, hover over an image and click the meatballs icon in the lower right corner of the image. Click "update description" to add a description. It isn't always necessary, but it is very courteous for a variety of accessibility reasons.

-> Text

Break up your text. Run-on sentences are standard here, lack of punctuation too, you can really do whatever you want, but avoid massive blocks of text. unless you've got a really incendiary opening line and the entire center of that granite chunk of text is actually comedy gold, hard-hitting tumblr journalism, or one of those zany confessional posts that can be followed up by the drive thru meme

break up

your text.

and go light on the ALL CAPS. save it for emphasis or when you're feeling very unhinged or saRcAStiC y'know how that goes, i don't need to explain it. this site has a very dry tone to its posts so caps are rare. also periods

Bullet points and numbered posts are good and fine. The "Chat" post option is used less often these days, but different groups found uses for it so it sticks around.

Titles Matter

they help break up text and put people at ease. they are best for informative, mature posts but can make you look like a square in more relaxed conversations. sometimes they are also great for emphasis in a comedic sh*tpost (censorship is entirely up to you, btw. you don't have to censor much on tumblr except titties and genitals).

Tumblr automatically shortens long posts now, but etiquette asks that you tag #long post if you want to avoid clogging up someone's dash. It don't matter too much though, this is the "color of the sky" site, so get used to posts being too long

That being said "READ MORE" is a fantastic feature. Use it when you want some level of privacy like "hey, only click below if you want to hear about my problems" or "click below to read my 18+ fanfic." Read more is also great in case you want to delete something forever. If a reblogged post has a read more, but op deleted the og post, that content is gone (readmore has to be on the og post at time of posting for this to work, btw; edits to og post do not span all reblogs)

the other bells and whistles like colored font or italics are helpful in improving text, but we don't really rely on them. every mode of looking at this site alters those aspects somehow so we often ignore them

-> Links

Hint: People don't want to click links. We don't know where they're taking us. Most of us are on our phone and don't want to open another tab or leave the app to go on the browser. We're cozy here on Tumblr and do not wish to be whisked away (unless it's a rickroll)

Don't leave the link thumbnail to do all the work, like so

add a little sneak peak info, maybe your favorite line from the article or a reason why it's important for people to know the info on the other side of that link. Sell it!

When you're adding a link into a list, i.e. no large thumbnail just a line of text leading you to another site, try not to copy/paste the link as is

"https://......"

No one wants to click on that it's gross and scary. It's screams "meh, i'll click later if i feel like it." If the build up to the link is too good to resist ("if you want to save the orphaned puppies here's the link") then that http mess is sufficient.

Otherwise, dress your links up a little by including the title or a description of what the link goes to:

Or, if it's an informal post where you're just popping info in to back up whatever insane thing you just said, just write something like "link here" or "(x)" and hyperlink it.

-> Tags

artists, writers, and other creators: leave a tag on your creative content that makes it easy for blog visitors to see it all at once. e.g. "My work" and we click on that while on your blog and see only your works

You can have up to thirty tags on any post. All will make your post show up in searches and followed tags (it used to be only the first five tags that got you traction). However,

Please. Do not tag everything you can possibly imagine being relevant to your post because

It's called tag spam and it's against TOS

Everyone here hates that

No one is going to check all those tags ever. Someone might search one five years from now and accidentally find your post hanging out in the ether and they'll still ignore it.

Your imagination is wicked tiny because I guarantee the perfect tag is going to be something indecipherable and seemingly niche.

Follow popular tags (or at least be aware of them)

If yours is an off-the-cuff post and you don't have time to find out what a niche group is into then wing it, sure, idc. this is also the shitposting site do whatever you want

Don't put your hate in the fan tags. This is the unapologetically-like-dumb-things site and your negativity is not wanted. You can still complain, just avoid tagging to get the attention of the fans of whatever you're complaining about. That enables pvp and even nonfans will know you deserve the backlash

-> Audio & Video

clickable by nature because we all love noise and moving images so there's no special way to share posts like this. just post them with good tags and maybe a one-liner, and they'll sell themselves

Tip: it's nice to add descriptions to these too but it isn't common

Protip: if the audio is the best part of the video (e.g. a baby burps REALLY loudly and it's hilarious) please caption or tag "Unmute!"

-> mkay bye

that's all i can think of right now. will update later if i remember something

---

*this is year eleven of my time on tumbles and i studied marketing in college for like six of those years and have been applying that bupkis to tumblr ever since. every post i see that gets no traction and every lovely artist that goes nowhere on here bothers me so deeply and i sincerely want y'all to succeed <3 <3

+ If you find this helpful and want to support my blog, I have a ko-fi!

+ If you're concerned about my mental health from being on Tumblr so long and want to contribute to my "get better" fund, I have a ko-fi!

[hwei-theories]

╰┈➤Hwei's connection to the Surrealism and Impressionism art era

In the article "CHAMPION INSIGHTS: HWEI" it says the following: “There’s more than meets the eye for someone like him,” adds Lonewingy. “You don’t know that there are beautiful things happening in his mind and how he sees reality. That's impressionism. And how he combines fiction and reality, like realistic experience and also imagination—that's surrealism.”

I found that very interesting. I thought about it more and realized that there are many parallels in Hwei's design and personality to the art era of Impressionism and Surrealism.

Hwei embodies elements of both Surrealism and Impressionism in his design and personality. The article mentions that Hwei combines fiction and reality, similar to the artistic movement of Surrealism. Surrealism sought to explore the realm of the unconscious mind and merge dreamlike elements with reality, which aligns with Hwei's ability to manifest his imaginative visions through his paintings.

Furthermore, Hwei's artistry and expressive style are reminiscent of Impressionism. Impressionism focused on capturing fleeting moments and the play of light and color, which is reflected in Hwei's dynamic. The article describes Hwei's power as being fueled by his own artistic expression, drawing a parallel to Impressionist artists who aimed to convey their subjective impressions and emotions through their artwork.

Hwei's art serves as a means for him to navigate his deep sorrow and inner turmoil. The article also describes him as a character who has experienced major loss but has emerged as an artist, not as a cynic or avenger. Impressionism, with its emphasis on capturing emotions and subjective experiences, provides a fitting artistic style for Hwei to express and process his complex feelings.

Surrealism aimed to tap into the subconscious mind and explore the depths of human emotions, while Impressionism celebrated the artist's individual interpretation of the world.

I believe the creators of Hwei's character drew conscious inspiration from the Surrealist and Impressionist art movements. It is my strong conviction that Hwei's artistic style bears resemblances to both Surrealism and Impressionism.

During his time in the temple, I anticipate that his art might reflect an Impressionist aesthetic, in accordance with the expectations of the temple masters. Hwei's paintings may bear similarities to the works of renowned artists such as Auguste Renoir and Claude Monet. Subsequently, after leaving the temple, it is likely that Hwei explored the realm of Surrealism in his art, as opposed to continuing with Impressionism. Surrealism, being markedly distinct from "traditional" art, likely provoked displeasure among the temple masters of that era. Furthermore, it is plausible that Hwei also has an affinity for Impressionist-style painting. If we delve into the historical context, we find that Impressionism emerged as a counter-movement to the prevailing "traditional" art of its time.

Hwei's lore alludes to his inability to freely express his own artistic vision. The temple masters consistently restrained him, emphasizing the need to conform to academic rules and limiting his self-expression in art.

In Surrealism, the night motif is often associated with mysterious and dreamlike imagery. Again: Surrealist artists sought to explore the realm of the unconscious mind and tap into the depths of imagination, and the night served as a symbolic backdrop for these explorations. It is during the night that the boundaries between reality and the fantastical blur, allowing for the manifestation of strange and unexpected visions.

During his time at the temple on Koyehn, Hwei secretly indulged in his true passion for painting. Fascinated by his intense imagination and fearful of his own power, Hwei would retreat to the solitude of the night to express his emotions and explore the depths of his creativity. It is in these clandestine moments that he would create his artworks, which likely took on a surrealistic style.

Surrealistic paintings often feature juxtapositions of seemingly unrelated objects, dreamlike landscapes, and distorted or fantastical figures. Hwei's secret nighttime creations may have embodied these elements, as he sought to merge fiction and reality, infusing his art with his deep emotions and personal experiences. Through surrealist techniques, Hwei could convey the complexity of his inner world and communicate his unique perspective on reality.

Hwei, with his brooding nature and intense artistic drive, embodies the essence of a surrealist artist.

I rather think that Hwei tended to paint Surrealist paintings after the massacre in the temple. The Surrealists, in our real world, were against rigid norms and habits, against logic and pragmatism - just like Hwei. They demanded that the unconscious, the repressed, such as dreams, intoxication, desires and visions, should no longer be ignored. People should free themselves from taboos. The Surrealists identified with a new, higher reality: surreality. The artists of Surrealism aimed to create a higher reality, the "supra-real", and to expand people's consciousness.

I see a lot of Hwei's views in this!

Hwei's exploration of Surrealism following his departure from the temple evoked parallels to the genesis of the Surrealism movement. This artistic movement was significantly shaped by the impact of war, which not only influenced its development but also fueled a profound fascination among Surrealists with mental illness and its intricate ties to creativity. It is striking to witness how Hwei harnesses his own traumatic encounters, employing art as a means to provide solace and healing to fellow survivors in Koyehn.

The horrors of war have indeed been a major influence on Surrealism artists, as they grappled with the traumatic experiences and sought to explore the connection between mental illness and creativity - similar to Hwei.

[amageish]

Spider-Man 2 Post-Credit Spoilers

Time for some more signature Amageish overthinking!

Sooooooooooooo.

How about that Cindy Moon appearance, huh?

From this Gizmodo article, we do have a bit of insight into the decision to have her appear where they mention the challenge of making a Cindy unique to the GamerVerse specifically - though it's obvious they are keeping their cards close to their chest here as well.

io9: Along with giving Miles a promotion, you’ve introduced Cindy Moon, aka Silk, into your universe. Of all the Spider-heroes, I don’t think anyone was expecting her. What made her so appealing over someone like Eddie or Gwen Stacy? Arfmann: Cindy’s always been a really compelling character in the comics who, similar to [SM1's] Martin Li, hasn’t really gotten a ton of exposure outside of the immediate fanbase. There’s something really exciting about taking a character who we love, who not everybody’s had a chance to meet, and exposing her to a wider audience. Morris: I’m so excited to see what we do with Cindy. Arfmann: Exactly. That was the real drive with her, and figuring out who Insomniac’s Cindy Moon is a really exciting challenge. And we also have this interesting complication that [Cindy’s dad] Albert is dating [Miles’ mom] Rio, and we’re thrilled to explore how that creates a new iteration of this character that folks already love.

So this confirms that they will be changing stuff too! This is going to be a unique take on her, but they are also self-aware that this will be plenty of people's introduction to the character.

The main question on my mind is a pretty basic one: Does Cindy Moon need to be shoved into a bunker for 7-10 years in order to be recognizably Cindy Moon? Her father is already in the game, so we know the "parents are missing" story is probably off the table, but does she need to still spend all that time in isolation to be Cindy?

In the comics, her time in the bunker is credited in-text with being a source of so many of her defining character traits.

It is something that separates her experiences from Peter and the other Spider-heroes.

It's something that fills her with a drive to prove herself and is the experience that made her such a talented martial artist.

It informs her understanding of modern technology and the level of pop culture awareness she has - the former of which helped her develop her uniquely positive relationship with J Jonah Jameson.

And, lastly, the time she had in isolation is credited with causing her to develop her anxiety disorder and communication challenges.

So, with all that in mind, it feels like Cindy does have to be put into a bunker, right? As it's such a core part of her backstory?

Well, no. Maybe this will be a hot take, but I honestly don't think she does.

While I do think everything I've listed here is a key aspect of Cindy Moon as a character, I don't think they need to lock her in a vault for 7-10 years in order to explain why a Korean-American woman in New York city has anxiety or practices martial arts or feels a need to work twice as hard to have her accomplishments recognized. These are all very relatable experiences that do not require a fantastical superhero origin story to justify them.

Honestly, with how emotion-forward the Insomniac Spider-Man games are already, I think her being a woman who has had a depressive episode recently which she describes as having felt like being trapped would work just as well as literally having had her be trapped by a supervillain. I would not be surprised if the ability to tell a story about anxiety and depression was a factor in them selecting Cindy as the next playable character as well - the potential for a Silk game that incorporates actual mindfulness and grounding techniques into the gameplay is really high IMHO.

I also think that the final scene kind of supports the idea too? Cindy has no lines, but she does have a silent awkward wave. Maybe I'm reading too much into it, but her introduction makes me think she already has social anxiety - so unless she's already been in the bunker and we'll get a story about how she escaped, then I think she will probably jut be getting powers and moving forward from there.

Anyway, that's a lot of thoughts brought about by like 5 seconds of Cindy waving. I'm just really eager to see where things go from here and am hoping we'll get a DLC trailer or a Silk expandalone announced sometimes soon...

(PS: Having Peter already be in a committed relationship with MJ and Miles, who is also already in a relationship with Hailey, being in a psuedo-sibling relationship with Cindy is an excellent way of desexualizing the Cindy + Spider-Men relationship. I have no fears about Insomniac stumbling on that particular hurdle.)

(I do, however, have fears that I will be seeing unironic speculation about pheromones in reddit threads for the next 2 years until whenever Spider-Man: Miles Morales 2 or Silk: Cindy Moon is announced... but that probably cannot be changed, unfortunately.)

[renthony]

It's entirely on me for not speaking up sooner, but I've been following you for a few months (at least?) and I really am excited for your project on the Hays Code. I'm excited to learn more about the history of cinema and how queer people factor into it, and I know for sure I'm going to eat it up as soon as you publish anything! It's really fun to see the little insights that you post here and there as you continue your research, too. I think (I hope...) that a lot of the "engaging with media isn't praxis" rhetoric that's going around right now is just people's knee-jerk response to the way a lot of "engaging with media" & fandom these days seems to be about policing queer people & queer art... but that doesn't change the fact that that rhetoric the way it's stated is clearly discouraging to artists!! In any case, I think your project is absolutely worthwhile, I'm following excitedly, and look forward to anything that comes out of it--whether that ends up being an epic multi-video essay series or just more fantastic posts and insights that get me thinking more deeply about history and media anytime I open tumblr :)

Aw hell, I really appreciate this message, thank you so much! <3

I've been working my ass off on the censorship project, and I'm really excited to give some beefy updates on Patreon on Friday. I've been tracking down a ton of old newspaper databases with relevant articles from the late 1800s and early 1900s, and there's just so much interesting stuff I'm excited to share with everyone!

I spent yesterday tracking down primary sources about a New York supreme court case that aimed to regulate vaudeville performances on Sundays, forcing vaudeville to adhere to the Christian sabbath. It was a huge point of contention. An old New York Times article from December 23, 1906, titled "A Bird's Eye View of Sunday Vaudeville," reads:

"The lid is down on Sunday vaudeville in New York, and the police are sitting on it. The managers of the theatres go on with the shows, protesting that they are strictly observing the Sabbath. The performances are given without changes in scenery, the use of curtains, dancing, tights, acrobatic feats, stage disguises or make-up. Even programmes are hard to find. Vaudeville minus these features defies description."

Like, can you imagine going to see a show, and none of the actors are even allowed to wear makeup? Christian morals being enforced on performance art really is the theme of this project, oof.

[lobotomizedlady]

I am on SSRIs and antipsychotics 💀 however im supposed to get off them after a period. only the ssri is long term. can you link some of the studies or is it all in the book you recommend? thank you btw it's very helpful

So as for the SSRI issue there are multiple active lawsuits going on rn, and GSK was fined 3 billion over the fraudulent marketing of paxil (the ssri I'm on, but they all work the same way). That doesn't necessarily mean they won't help some people but it is definitely concerning. I'll link some sources below.

https://www.cchrint.org/cchrs-exposure-of-antidepressant-risks-false-marketing-of-the-chemical-imbalance-theory/

https://www.genengnews.com/insights/the-ghosts-of-medical-research/

https://www.psychologytoday.com/us/blog/mood-swings/202210/has-the-serotonin-hypothesis-been-debunked?amp

https://scholar.archive.org/work/xbgj3old4fhjndzjgmrl7va7ru/access/wayback/https://ijme.in/wp-content/uploads/2020/08/The-lessons-of-Study_Robert-W76-78.pdf

As for the antipsychotics & their effects...

https://www.madinamerica.com/antipsychoticsschizophrenia/

https://www.madinamerica.com/wp-content/uploads/2016/07/The-Case-Against-Antipsychotics.pdf

(Mad in America is a phenomenal resource in general, the book is fantastic and they have a podcast as well. I actually found them through my old therapist who was very critical of psychiatry).

https://www.psychiatrictimes.com/view/setting-record-straight-antipsychotics

https://amp.theguardian.com/commentisfree/2008/mar/02/mythoftheantipsychotic

Just some links I found, but ultimately no web articles are going to come close to giving you the sort of in-depth info books will give you-years of dedicated research go into writing them and it shows. So I'd definitely encourage reading some books on the topic. I think everyone who's capable of it should take initiative when it comes to their own mental health bc informed consent is so important yet virtually unheard of in psychiatry bc they simply don't share all the risks with patients. And it's worse if you get the dreaded label of "psychotic" bc then they can essentially do whatever the fuck they want & dismiss all your concerns. It's like a scarlet letter. Even the psychiatrist themselves sometimes don't know the truth about the meds they prescribe, which seems unbelievable but big pharma has deep pockets and they are known to pay researchers for results, which is why so much contradictory info exists. It's similar to what the sugar industry did in the 1980s in terms of paying researchers to say that fat is solely responsible for the rise in obesity-they want to sell more products and they'll contract academics to lie for them in order to guarantee their continued profit. You always want to look for independently funded research studies bc that's where you're going to get the truth, no bias or financial incentives.

[pluckysidekick]

So no trailer this week with two and a half weeks to go, le sigh. We did see ads from local stations (using old promo photos), and we got what appears to be the Nancy Drew 4.01 title and description. Read on for that and a bunch more show and cast bits from the past week.

“The Dilemma of the Lover’s Curse.” They’re hitting the curse head on, which I like. Two different sites posted the title along with an episode description that came right from the season 4 description we got back in January.

Now that we’re so close, the reality of Nancy and Ace having potential love interests is sinking in. We know that Nancy will not risk Ace’s life as long as there’s no solution to the curse. I’m still hopeful for lots of Nace scenes, with plenty of delicious angst. Curious how this squares with Kennedy’s discussion of Nancy and Ace’s emotional openness with each other - I still expect Ace to figure out the curse quickly.

I’m also super hyped about the sins of the town’s past, the multiple supernatural mysteries, and the stories for the entire crew. May 31 is so close I can taste it.

Scott Wolf gave us some insight into S4’s resolution for our beloved characters in a new interview - it was a big deal for them to know it was the final season ahead of time, the season will cover the things that are most important to us, but “not every resolution is going to be satisfying for everyone.”

Glad to hear they planned real resolutions for everyone, terrified about them not all being satisfying. I’m absolutely expecting Nace endgame, but I want good things for all of our family. They’re keeping us on our toes…

We saw lots of our cast this week - Kennedy made a surprise appearance in an Arizona bookstore with her author parents (note this pic is with her mom and the bookseller, not McDad), Maddison was in Paris and England with her Versailles cast and her family, and Riley is appearing in another episode of Station 19 this week.

Alex has been on vacay in Italy and France (Hannah captioned the first photo “Alex doesn’t like PDA. So I fixed it” ☠️). Alex’s new show High Desert premieres this week on Apple TV. There’s a new in depth, spoilery review at AV Club. According to the article (spoiler alert), Peggy (Patricia Arquette) is “no longer speaking to her grown son.” We won’t see Alex until episode 6 - could he play Peggy’s son?

Leah’s show Matlock was picked up for the fall (watch the trailer), and she’s celebrating in Mexico with her bf.

Meanwhile Queen Charlotte is another huge hit with fantastic exposure for Tunji - check out the in depth Tatler profile on our favorite Scotsman, where he draws an interesting parallel between Charlotte & George’s and Harry & Meghan’s experiences - and admits he’s never watched Bridgerton.

In more show news, the Nancy Drew writers’ request for fan input has generated tons of great questions but only chaos from the writers so far - no real answers yet.

Speaking of chaos, Kennedy stepped into the fray to drop four songs from her S4 playlist. “The Winner Takes it All” (no more ace to play), “all my ghosts” (all my ghosts are with me), and “Thinking of You” (cause when I’m with him I am thinking of you) are killing me, the pain. “Big Poppa” has me thinking about Nancy under some kind of spell a la Burning Bride (as she described Episode 2) hitting on everyone in sight - “mackin’ hoes” while “my crew’s behind me.” Now in honor of “Big Poppa”, what if it’s Ryan!?

Finally, two more cast members were added to IMDB - Fred the car towing guy is back for 3 episodes (3, 5, and 13), and there’s a new security guard in Episode 9.

You get a gold star if you made it to the end. Another week, another wish for a trailer and new photos. I’m busy wrapping up The Space Between - expect the thrilling (I hope) conclusion before the season premiere. Also planning a fluffy epilogue, I at least can promise satisfying conclusions for everyone!

[cyberbun]

Any youtube channels you recommend?

I've been binge-watching Amelie Doree's channel recently; she's an eroge/VN reviewer who has a really good insight into the stuff she talks about. I usually really dislike "video essay" channels (on account of the fact that I have a god-damn masters in literature and I can tell 90% of the people who run those channels are hacks) so take it with extra weight when I say her stuff is genuinely I-would-cite-this-in-a-paper good at times. I'm pretty sure I took at least one of the articles she's quoted and used it in my research at some point. She's also on tumblr @ameliedoree.

Also thanks to her now I have integrated the phrase "Fun for the whole polycule!" into my vocabulary.

Personal recommendations are her video on Japanese indie 3DO games, and the fucking odyssey that is Barcode Battlers. Her latest video on Suisenka is genuinely fantastic.

[chattingwiththelightkeeper]

Beyond Fantasy

When perusing the vast expanse of lifestyle sites or scrolling through social media feeds, it is easy to get caught up in the allure of BDSM fantasies. A provocative selfie, an enticing video, or an erotic tale of a submissive enticing the unsuspecting delivery person at the direction of their voyeuristic dominant. All of these quickly garner attention, earning likes and shares, and fueling the growing fascination with the BDSM lifestyle. But what happens when an insightful article on the importance of consent enters the kinky web? Unfortunately, it often receives little more than the sound of crickets. Many individuals are infatuated with the fantasy of BDSM rather than its gritty realities.

Fantasy and exploration with a trusted partner can indeed be empowering, but it is time to face the facts. Mastery of the lifestyle does not happen overnight, nor does it come from a few months of perusing blogs and lifestyle sites. While the fantasy might paint a picture of the perfect first date culminating in a mesmerizing display of dominance, suspending the submissive from the dining room chandelier, reality has a way of crashing down, along with the chandelier and the poor submissive. Understanding the nuances of BDSM takes time and effort, and as one delves deeper, one will find that it is a journey of self-discovery that is in constant evolution.

Contrary to popular belief, BDSM is not solely about sex. While intimate encounters can be a significant aspect for many, the true essence lies in the mental connection. This is a space where individuals of various orientations, including asexual and sex-repulsed individuals, find solace and fulfillment. Dispelling the myth that BDSM is purely about physical gratification is essential to understanding its complexities.

Yet, discussions on the challenges of BDSM relationships often go unnoticed. These are the moments when a drained dominant struggles to provide guidance, or when a submissive finds themselves in a conflicting state of mind. Fictional fantasies rarely delve into these complexities, as they prefer to focus on the tantalizing aspects rather than the harsh truths.

At the end of the day, embracing BDSM means embracing imperfection. It is about acknowledging the scars, the stretch marks, the ups, and the downs. It is about understanding that life, and BDSM, is not always pretty. But therein lies its beauty, the authenticity of the human experience.

So, if one truly desires to explore BDSM, it is time to set aside the promiscuous posts and dive into the challenging yet rewarding realities of the lifestyle. It may not be as glamorous, but it is authentic, raw, and transformative. Invest in yourself by letting go of fantastical notions and embracing the genuine experiences of real-world BDSM.

If you enjoyed this, I invite you to give my podcast a listen 'Chatting With The Lightkeeper,' a top 25% most-followed podcasts on Spotify but available on all the major podcasting apps and follow my socials for more exclusive content: Instagram, Facebook, Bluesky, and X (formerly Twitter) for a deeper dive into the wonderful world of D/S.

As with all of my thoughts, please see this disclaimer.

©TLK2024

[rhube]

The Case for Limiting Personal Wealth

Unpay-walled link to the New Yorker article 'The Titan Submersible was an "Accident Waiting to Happen"'

I'm reading the New Yorker article linked above, which contains acres of quotes from people warning Stockton Rush about how dangerous Titan was. It's hammering home to me what I have believed for several years:

Allowing people to have more than a certain amount of money to personally dispose of is catastrophically dangerous to themselves and others.

No single person is capable of responsibly managing that much cash. And the possession of riches itself warps perception dangerously. This is powerfully obvious when you read how Rush responded to being challenged. The way he first limited what things he would allow his safety expert to assess, and then fired him when he wrote a report - specifically so there would be a written record of him telling Rush that even the things he was allowed to assess were horrifically unsafe.

We're talking about a vessel Rush planned to enter himself.

And then he asked his Finance officer to be the pilot. This worried her so much that she found a new job ASAP, practically screaming *Scotty voice*, "I'm an accountant, man, not a submarine pilot!"

What this illustrates, apart from anything else, is the capacity money gives to people to say no to others without consequence, and how this makes them inherently incapable of judging when it's appropriate to listen to others and doubt themselves.

That is fantastically dangerous.

Not only should we tax away the possibility of billionaires existing in order to ensure fairer distribution of money, but we must do it for public safety. We need to prevent super rich people from being decision-makers of significant power. Their very wealth makes them collossally BAD at it.

It is unescapable, reading quotations like:

“I had come across this business anomaly I couldn’t explain... If three-quarters of the planet is water, how come you can’t access it?” (Rush)

What utter nonsense. Buzzwords instead of a brain. Meanwhile, experts on deep-ocean exploration (all of whom must be risk-takers to even consider that) say things like:

"You can’t cut corners in the deep,” (Rob McCallum)

The pre-exiting condition of Being Rich should automatically discount rich folk from being CEOs or entering governmental positions.

This wouldn't just ensure fairer salaries for all, and a redistribution of extreme inherited wealth to those who need it, but would prevent people who are inherently bad at assessing risk from endangering others.

This doesn't mean that people who are good at their jobs shouldn't be rewarded, both financially and with responsibility that reflects their good judgement. Rather, there should be a ceiling and more sensible scale for compensation, not just to ensure people at the bottom of the scale get their fair share, but to ensure the judgement of our leaders does not become warped.

This would also help temper the temptation for unscrupulous ladder-climbers to succeed through bad behaviour and backstabbing. There is less incentive to be a conniving shit if you are well-compensated at all levels and you aren't given unhinged freedoms and cash at the top.

This is an expansion of thoughts I posted to Mastodon earlier. I just felt in my bones that this was an insight that I hadn't quite seen captured before. (It probably has been - for all I know, there are studies, but I hadn't seen it expressed quite like this.) I know I and others have pointed out the limitations on an human of managing an amount of money they cannot visualise, but this article made me feel slapped in the face with the fact that it ISN'T SIMPLY that inherited wealth enables stupid people to be in charge of things they can't handle; nor is it just that wealth and power insulate you from harsh realities and consequences.

It is is that the kind of insulation from reality and consequence that (literally) unimaginable wealth brings *makes* you stupid. Or, more precisely, it makes you lose all grasp of certain important self-checking mechanisms that make you doubt yourself, listen to others, and have any capacity at all to assess risk.

Your ability to buy away most problems seems to make a lot of people utterly incapable of processing that some risks cannot be bought off.

Obviously not all super rich people are as insulated from reality as Musk and Rush. Bill Gates seems to retain a modicum of sense - setting up a foundation to help you manage the disposal of your cash is a step in the right direction. But you don't have to look very far to find callous things he's done that many people would be aghast at. Philanthropy is simply a way to buy good press.

As I have said before, no on should have the right to dispose of that amount of cash by themselves. It is enormous hubris to even suppose that you can choose by yourself the right people to manage a billion pounds.

But it's not just that. Money makes you stupid. We all need to know what it is to be told no and forced to accept it with good grace. Whenever you reach a level of money that means you don't have to accept 'no' as an answer, ever, that amount of money is making you stupid, and for your own good, some of it should be taken away.

[urbancultures-blog]

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[allproducts81]

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[communistkenobi]

Hey Nick, I was wondering if you had any reading recommendations for ppl looking to get more into political/leftist theory? Ik you've posted a lot about The Authoritarian Personality and I agree with your insights and posts abt it and I'm considering picking that up! But I also wanted to know if you have any other recs besides that? Anyways, thanks so much, and give Muffin a pet for me! :^)

I would recommend reading historical non fiction written from leftist perspectives. I often find that to be A) a more approachable start if you’re not super familiar/comfortable with the more dense and abstract theoretical texts, and B) very instructive in what the actual value of leftist political thought is, how it’s been built and shaped throughout history, and the core contradictions that exist within class relationships. Reading about the Haitian Revolution is a great start, either Black Jacobins or Avengers of the New World (I’ve only read the latter but I’ve heard Black Jacobins is the better of the two so I recommend that one, Avengers was a bit dry). Cesaire’s Discourse on Colonialism essay is also fantastic, I find him to be very insightful (and funny) without speaking in the more dry academic tones you’d find in a lot of other theory. + I think it’s foundational in describing what colonialism “is”, not just as a historical process but as a historical force itself

I would also recommend David Harvey’s work, he’s a very influential marxist geographer and has written a lot about how neoliberalism is expressed in the built environment/urban contexts (+ I think neoliberalism is one of those concepts that’s extremely valuable to understand because it’s the dominant expression of capitalism, and knowing exactly what it is and what it does will be very useful in helping you understand a lot of what’s happening today economically). He also wrote what I believe is a fairly famous book called A Companion to Marx’s Capital, though I haven’t read that one. Everything I’ve read of Marx’s work has been fairly impenetrable, so (echoing advice I hear often) I would recommend secondary sources that either commentate or criticise his stuff. Which is extremely easy to find because everyone is responding to Marx lol

OH also Transgender Marxism is a self explanatory collection of essays on the topic of transness and marxism. I’ve read a couple of the essays in there that I’ve been impressed with, particularly Seizing the Means: Towards a Trans Epistemology and ‘Why Are We Like This?’: The Primacy of Transsexuality.

I can provide you the list of books I’ve bought and intend to read after I’m finished The Authoritarian Personality but haven’t gotten around to yet. A lot of the stuff ive read are journal articles / books that are written specifically to be taught in universities so they aren’t necessarily good to recommend because they can be hard to find/expensive/annoying to read. Although if you do want some recommendations in that vein I’d be happy to share a list + any PDFs I have on hand

Anyway this is what I want to read after I’m finished auth personality:

A People’s History of the United States (I almost always see this on “so you want to start reading leftist theory” lists)

The Jakarta Method (a book about the United State’s anti communist foreign policy during the Cold War. I hear the subject matter is pretty horrifying but very illuminating)

Are Prisons Obsolete? By Angela Davis

I also listen to podcasts about theory by other grad students but idk if that’s what you’re looking for. If you are I recommend Liv Agar and What’s Left of Philosophy. Obviously this has a lower bar on quality and fact checking but I find them enjoyable. Also if you’re into podcasts Blowback is really good (covers the Iraq War and Cuban Revolution).

Sorry this is a bit scatterbrained but I hope that helps lmao. If that’s not helpful I can take a look at some of the shit I have downloaded on my computer. Mutuals can also chime in if they have book/essay recommendations

[digirankguide]

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Also Read:

Digital Word of Mouth: What does it mean?

Wondering How To Create An search engine marketing Roadmap?